[PS2] Persona 3 - "Aria of the Soul" by Code_Name_Geek & Samusthedude

[Zeta]

Submission Information:
Series: Other
Game: Persona 3
Console: PlayStation 2
Title: Aria of the Soul
Instrumentation Solo Piano
Arrangers: Code_Name_Geek & Samusthedude

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[Samusthedude]

We weren't super sure on the notes from 28-34 in the left hand, so what's there is our best guess. This was bigger in scope than either of us thought it would be so there's probably a few issues.

[Static]

Sorry for the wait on this one!

- Since this is technically an arrangement, you can also put (in italics) "Arranged by Shoji Meguro" underneath the composer info. It's sometimes considered redundant if the composer and arranger are the same, but I think it's something worth specifying if its from a different game than the original - up to you, though.
- m22 LH: The "l.h." should be moved down a hair so it's not touching the slur above.
- m23 RH: The half rest in the 2nd layer should be moved down so it's not touching any notes, and so it lines up with the rests in m21.
- m36: For these kinds of pauses between sections, it's probably better to use a caesura mark, even if it may technically be the same length as a normal measure.
- m60: I would incorporate the low brass line here on the last 3 8th notes since it's pretty prominent, especially that G to F# on beat 4. It doesn't quite have the same feel with the C# to A# as the bass notes, even though they're a part of the chord - it's not as dissonant as it should be.
- "Atlas" should be "Atlus"

[Code_Name_Geek]

Did all those edits and some general formatting updates. I double-checked the low brass line in m. 60 and fixed/added some notes, including the pickup, so that should be better now.

I talked with Samusthedude and we don't think it's necessary to include the "arranged by" bit since it's the same as the composer.

Thanks for taking a look!

[Rwars]

Not sure on exactly how this would work, but shouldn't you use variable pedal marks for m1~10? Or is it better to use the individual pedal engage/release marks?

[Code_Name_Geek]

I've mostly seen the pedal/release marking around here, I'm not really sure what the difference is since I'm not well-versed in technical piano things like that.

[Rwars]

Generally, with pedalling like this, you would use variable pedalling, something like this.

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[Latios212]

Either looks fine to me for this piece.

[Code_Name_Geek]

If it works this way we're just going to leave it the way it is. But thanks anyways for the suggestion!

[Static]

Changes look good, I approve.

[Latios212]

Sorry for the wait on this one >_> I missed the above post with Static's approval...

Anyway, looks good! My feedback:
- A courtesy G natural would be good in m. 8 RH.
- You have the music go from mp to p between m. 10-11, but I think the vocals should warrant a louder dynamic as they're more prominent. Up to you what you want to do with it, but I'd suggest switching the mp and p in m. 9 and 11.
- The C#-G tritone in the left hand in m. 20 and 22 doesn't sound right. You could use an A on top instead of G to fit the harmony.
- I don't hear the last E in the lower layer in the RH in m. 20 and 22. Additionally, I'm hearing the cross-staffed note in m. 22 as an F#, I think...
- Hearing the LH of m. 24 as this instead:

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- Consistency of voicing - I'd suggest using two layer in RH of m. 26 and maybe adding another harmony note in m. 25 beat 3
- Hearing a bunch of discrepancies in the arpeggios in m. 28-35:

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- Lower layer RH in m. 38 sounds like the first two beats are D
- I'm hearing lower layer RH in 39 as C# C# B B (and the first LH chord the same as the others)
- I think the bass in m. 42 beat 4 dips down to a G to lead to the F# in the next measure
- m. 48 sounds like Gmaj7 I think and could use an F# in the chord somewhere
- Bass in second half of m. 51 should be A#, not mirroring the RH. Ideally lower, to lead into the B bass in the next measure
- Would you mind giving the LH part in m. 59 another look? The first and fourth chords sound quite muddy and also are a bit troublesome to play.

Real nice sheet though ^^

[Code_Name_Geek]

Talked with Samusthedude over Discord and made the following changes:

- You have the music go from mp to p between m. 10-11, but I think the vocals should warrant a louder dynamic as they're more prominent. Up to you what you want to do with it, but I'd suggest switching the mp and p in m. 9 and 11.

Since it later goes back to mp, we decided instead to change the mp in m. 9 to pp. That way it still gets louder in 11 while preserving the dynamics for the rest of the sheet.

- I don't hear the last E in the lower layer in the RH in m. 20 and 22. Additionally, I'm hearing the cross-staffed note in m. 22 as an F#, I think...

Good catch on those Es, you're absolutely right! We think there is both a C# and an F# on beat 4 of m. 22 so we just put both of them. We also redid the way that measure 22 was written in the l.h. since the cross staff notation was no longer needed.

- Bass in second half of m. 51 should be A#, not mirroring the RH. Ideally lower, to lead into the B bass in the next measure

This part was a bit tricky to modify without losing the feel, but how does that look? It's a bit awkward but it has the lower octave on beat 4 at least.

- Would you mind giving the LH part in m. 59 another look? The first and fourth chords sound quite muddy and also are a bit troublesome to play.

Fourth chord has been revoiced. We couldn't come up with a better voicing for the first chord - I think the chord there is F#7b9, so it would probably sound better with the 7th in the voicing, but adding it would have made the chord quite a stretch so I'm not sure if there's a better option.

Everything else sounded great so that's all been fixed as well. Thanks!

[Latios212]

- Bass in second half of m. 51 should be A#, not mirroring the RH. Ideally lower, to lead into the B bass in the next measure

This part was a bit tricky to modify without losing the feel, but how does that look? It's a bit awkward but it has the lower octave on beat 4 at least.

Yeah, that works well!

- Would you mind giving the LH part in m. 59 another look? The first and fourth chords sound quite muddy and also are a bit troublesome to play.

Fourth chord has been revoiced. We couldn't come up with a better voicing for the first chord - I think the chord there is F#7b9, so it would probably sound better with the 7th in the voicing, but adding it would have made the chord quite a stretch so I'm not sure if there's a better option.

Okay, that's fine by me

I shall accept!

[Zeta]

This submission has been accepted by Latios212.

~Zeta, your friendly NSM-Bot